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TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: ALTERNATIVE MEDICINE NOUN Domenico Capilongo . definition of alternative medicine: any of various systems of healing or treating disease (such as chiropractic, homeopathy, or faith healing) not included in the traditional medical curricula of the U.S. and Britain TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH MARGO LAPIERRE Margo LaPierre (www.margolapierreeditor.com) is a queer, neurodivergent Canadian poet and fiction editor.Her debut collection of poetry, Washing Off the Raccoon Eyes, was published by Guernica Editions in 2017. How did you begin writing, and what keeps you going? I read books, insatiably, as a young kid. I don’t actually have any memory of my parents reading to me, only of me reading to TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH EM/ILIE KNEIFEL em/ilie kneifel is a poet/critic, editor at The Puritan/Theta Wave, creator of CATCH/PLAYD8s, and also a list. find 'em at emiliekneifel.com, @emiliekneifel, and in Tiohtiá:ke, hopping andhoping.
TRAIN : A POETRY JOURNAL Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: AN ACT OF GROWTH Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF PROSE POEMS Simon Brown (1979) is a self-taught poet and interdisciplinary artist from the traditional territory of the Passamaquoddy nation (southwestern New Brunswick) currently based in rural Québec. His French and English texts have been presented in collaborative artworks, performances, collections and artist books, and in magazines such as Lemon Hound, Estuaire, Vallum, Poetry Is Dead, Watts, and TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INTRODUCTION Geoffrey Nilson is the author of In my ear continuously like a stream (above/ground, 2017), O (Swimmer's Group, 2017), and We Have to Watch (Quilliad, 2016). His poetry and prose has appeared in various publications including Coast Mountain TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INVESTIGATION Chris Banks is the author of four previous collections of poems. His first full-length collection, Bonfires, was awarded the Jack Chalmers Award for poetry by the Canadian Authors’ Association in 2004. Bonfires was also a finalist for the Gerald Lampert Award for best first book of poetry in Canada. His poetry has appeared in The New Quarterly, Arc Magazine, The Antigonish TRAIN : A POETRY JOURNAL: FOR GRACE ON THE BEACH Emily Murman . we are looking for fullness lying long in the heat both hungry & not / cheez-its sticking like shells in the sand as hoveringgulls honk nearby
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: ALTERNATIVE MEDICINE NOUN Domenico Capilongo . definition of alternative medicine: any of various systems of healing or treating disease (such as chiropractic, homeopathy, or faith healing) not included in the traditional medical curricula of the U.S. and Britain TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH MARGO LAPIERRE Margo LaPierre (www.margolapierreeditor.com) is a queer, neurodivergent Canadian poet and fiction editor.Her debut collection of poetry, Washing Off the Raccoon Eyes, was published by Guernica Editions in 2017. How did you begin writing, and what keeps you going? I read books, insatiably, as a young kid. I don’t actually have any memory of my parents reading to me, only of me reading to TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH EM/ILIE KNEIFEL em/ilie kneifel is a poet/critic, editor at The Puritan/Theta Wave, creator of CATCH/PLAYD8s, and also a list. find 'em at emiliekneifel.com, @emiliekneifel, and in Tiohtiá:ke, hopping andhoping.
TRAIN : A POETRY JOURNAL: MARCH 2021 Constance Bacchus . they might be swans from a russian fairy tale flying around w/a borrowed lake as they land on the much flooded valley of green below little mountain spaced TRAIN : A POETRY JOURNAL: ALTERNATIVE MEDICINE NOUN Domenico Capilongo . definition of alternative medicine: any of various systems of healing or treating disease (such as chiropractic, homeopathy, or faith healing) not included in the traditional medical curricula of the U.S. and Britain TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INSTIGATION Katy Lederer: poems have recently appeared in The Kenyon Review, The American Poetry Review, The Recluse, and The Boston Review.I had a book out in 2017 with Atelos Press with another on the way this year on Solid Objects. I often write about climate change for print andonline magazines.
TRAIN : A POETRY JOURNAL: NOVEMBER 2019 katie o’brien is a poet, community worker, queer activist, and Netflix enthusiast originally from St. John’s, Ktaqamkuk, on unceded Beothuk land. a peal of thunder, a moment of (The Blasted Tree, 2019) is their third chapbook. katie dislikes lying, sings a lot, and doesn’t kill bugs. TRAIN : A POETRY JOURNAL: DELTA 9: WATER HYACINTH UNDER David Koehn As weather cools, largemouth feed closer to the surface. Slow down. Take time away from the buttered asterisk. Do I need t TRAIN : A POETRY JOURNAL: AME NI MO MAKEZU I can withstand the rain, whipping me in greasy strips, as I’m launched off the bus and out, limpy, toward a job for the 409 th day; I can rebuff the wind, its cocktail of toxins, Coco Paving, the Vomitorium where cement gets made, and a steel recycling centre that screams at two p.m. exactly th day; I can rebuff the wind, itscocktail of toxins
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JOEL ROBERT Joel Robert Ferguson is the author of The Lost Cafeteria (2020, Signature Editions) and holds a Masters in Creative Writing from Concordia University in Montreal. His poetry has appeared in numerous publications including Arc, The Columbia Review, The Honest Ulsterman, The Malahat Review, Orbis, and Southword Journal.He lives in Winnipeg, Treaty 1 territory, with his partner and their three cats. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH TOM SNARSKY Tom Snarsky is a special education math teacher at Malden High School in Malden, Massachusetts, USA. He is the author of Threshold, a chapbook of poems published by Another New Calligraphy.He lives in Chelsea, MA with his fiancée Kristi and their two cat children, Niles and Daphne. How did you begin writing, and what keeps you going? TRAIN : A POETRY JOURNAL: FEBRUARY 2020 Billy Mavreas lives in Montréal, Quebec where he creates comics, collage, drawings and visual poetry. He operates a studio and archive of found paper ephemera out of his gallery space Monastiraki in the Mile-End neighbourhood. He has published, exhibited and collaboratedwidely.
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH CATHERINE GRAHAM Catherine Graham is a Toronto-based poet and novelist. Among her six poetry collections The Celery Forest was named a CBC Best Book of the Year, appears on CBC Books Ultimate Canadian Poetry List and was a finalist for the Fred Cogswell Award for Excellence in Poetry. Michael Longley praised it as “a work of great fortitude and invention, full of jewel-like moments and dark gnomic TRAIN : A POETRY JOURNAL Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: AN ACT OF GROWTH Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF PROSE POEMS M.W. Jaeggle is a poet from Vancouver, currently living in Montreal. His writing has appeared or is forthcoming in The Dalhousie Review, CV2, Existere, in the anthology Refugium: Poems for the Pacific, and elsewhere. He was longlisted for the 2018 CBC Poetry Prize. Aaron Kreuter is the author of the poetry book Arguments for Lawn Chairs TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF SELF-ISOLATION Lizzie Derksen is a writer and filmmaker from Treaty Six Territory. She is the poet through whom Aunt Rachel speaks and one of the authors of the collaborative novel Project Compass (Monto Books 2017).Her writing has appeared in PRISM International, Room, Funicular Magazine, Poetry Is Dead, The Vault, and on CBC Television.Lizzie lives in Edmonton, Alberta, where she walks her dog, hosts a TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JOEL ROBERT Joel Robert Ferguson is the author of The Lost Cafeteria (2020, Signature Editions) and holds a Masters in Creative Writing from Concordia University in Montreal. His poetry has appeared in numerous publications including Arc, The Columbia Review, The Honest Ulsterman, The Malahat Review, Orbis, and Southword Journal.He lives in Winnipeg, Treaty 1 territory, with his partner and their three cats. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: FEBRUARY 2020 Billy Mavreas lives in Montréal, Quebec where he creates comics, collage, drawings and visual poetry. He operates a studio and archive of found paper ephemera out of his gallery space Monastiraki in the Mile-End neighbourhood. He has published, exhibited and collaboratedwidely.
TRAIN : A POETRY JOURNAL: AN ANGEL IS A SOFTER KIND OF LIGHT an angel is a softer kind of light. an angel is a softer kind of light. my bus driver says à demain. i give him a clementine wrapped. in its own skin i never see him again. but you know how they used to say. if you swallow gum it will stay. i will never see him againbut. i TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INTRODUCTION Geoffrey Nilson is the author of In my ear continuously like a stream (above/ground, 2017), O (Swimmer's Group, 2017), and We Have to Watch (Quilliad, 2016). His poetry and prose has appeared in various publications including Coast Mountain TRAIN : A POETRY JOURNAL: DEAN JOCELIN Jeremy Luke Hill . I am he, laughing, chin up, and shaking my head, spokes and wheels and a fire . at the spine. My will is in the pillars and in the high wall. TRAIN : A POETRY JOURNAL Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: AN ACT OF GROWTH Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF PROSE POEMS M.W. Jaeggle is a poet from Vancouver, currently living in Montreal. His writing has appeared or is forthcoming in The Dalhousie Review, CV2, Existere, in the anthology Refugium: Poems for the Pacific, and elsewhere. He was longlisted for the 2018 CBC Poetry Prize. Aaron Kreuter is the author of the poetry book Arguments for Lawn Chairs TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF SELF-ISOLATION Lizzie Derksen is a writer and filmmaker from Treaty Six Territory. She is the poet through whom Aunt Rachel speaks and one of the authors of the collaborative novel Project Compass (Monto Books 2017).Her writing has appeared in PRISM International, Room, Funicular Magazine, Poetry Is Dead, The Vault, and on CBC Television.Lizzie lives in Edmonton, Alberta, where she walks her dog, hosts a TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JOEL ROBERT Joel Robert Ferguson is the author of The Lost Cafeteria (2020, Signature Editions) and holds a Masters in Creative Writing from Concordia University in Montreal. His poetry has appeared in numerous publications including Arc, The Columbia Review, The Honest Ulsterman, The Malahat Review, Orbis, and Southword Journal.He lives in Winnipeg, Treaty 1 territory, with his partner and their three cats. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: FEBRUARY 2020 Billy Mavreas lives in Montréal, Quebec where he creates comics, collage, drawings and visual poetry. He operates a studio and archive of found paper ephemera out of his gallery space Monastiraki in the Mile-End neighbourhood. He has published, exhibited and collaboratedwidely.
TRAIN : A POETRY JOURNAL: AN ANGEL IS A SOFTER KIND OF LIGHT an angel is a softer kind of light. an angel is a softer kind of light. my bus driver says à demain. i give him a clementine wrapped. in its own skin i never see him again. but you know how they used to say. if you swallow gum it will stay. i will never see him againbut. i TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INTRODUCTION Geoffrey Nilson is the author of In my ear continuously like a stream (above/ground, 2017), O (Swimmer's Group, 2017), and We Have to Watch (Quilliad, 2016). His poetry and prose has appeared in various publications including Coast Mountain TRAIN : A POETRY JOURNAL: DEAN JOCELIN Jeremy Luke Hill . I am he, laughing, chin up, and shaking my head, spokes and wheels and a fire . at the spine. My will is in the pillars and in the high wall. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JOEL ROBERT Joel Robert Ferguson is the author of The Lost Cafeteria (2020, Signature Editions) and holds a Masters in Creative Writing from Concordia University in Montreal. His poetry has appeared in numerous publications including Arc, The Columbia Review, The Honest Ulsterman, The Malahat Review, Orbis, and Southword Journal.He lives in Winnipeg, Treaty 1 territory, with his partner and their three cats. TRAIN : A POETRY JOURNAL: FEBRUARY 2020 Billy Mavreas lives in Montréal, Quebec where he creates comics, collage, drawings and visual poetry. He operates a studio and archive of found paper ephemera out of his gallery space Monastiraki in the Mile-End neighbourhood. He has published, exhibited and collaboratedwidely.
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH DEREK BEAULIEU Derek Beaulieu is the author/editor of over twenty collections of poetry, prose, and criticism, including two volumes of his selected work, Please, No More Poetry (2013) and Konzeptuelle Arbeiten (2017).His most recent volume of fiction, a, A Novel was published by Paris’s Jean Boîte Editions. Beaulieu has exhibited his visual work across Canada, the United States, and Europe and has won TRAIN : A POETRY JOURNAL: MARCH 2020 ace allatime doan ever jus do it ace two jus do it allatime but doan do it two. ace allatime doan ever jus do it ace allatime doan ever jusdo it ace
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH EM/ILIE KNEIFEL An interview with em/ilie kneifel. em/ilie kneifel is a poet/critic, editor at The Puritan/Theta Wave, creator of CATCH/PLAYD8s, and also a list. find 'em at emiliekneifel.com, @emiliekneifel, and in Tiohtiá:ke, hopping and hoping. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH AMANDA EARL Amanda Earl’s visual poetry has been exhibited in Canada, Brazil and Russia, and published in the last vispo: anthology: visual poetry 1998-2008 (Fantagraphics, 2012), Of the Body, (Puddles of Sky Press, 2012), Bone Sapling, a collaboration with Gary Barwin, (AngelHousePress, 2014), a field guide to fanciful bugs, (avantacular press, 2010), Montparnasse: this is visual poetry, (chapbook TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH MARGO LAPIERRE Margo LaPierre (www.margolapierreeditor.com) is a queer, neurodivergent Canadian poet and fiction editor.Her debut collection of poetry, Washing Off the Raccoon Eyes, was published by Guernica Editions in 2017. How did you begin writing, and what keeps you going? I read books, insatiably, as a young kid. I don’t actually have any memory of my parents reading to me, only of me reading to TRAIN : A POETRY JOURNAL: ALTERNATIVE MEDICINE NOUN Domenico Capilongo . definition of alternative medicine: any of various systems of healing or treating disease (such as chiropractic, homeopathy, or faith healing) not included in the traditional medical curricula of the U.S. and Britain TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INVESTIGATION Chris Banks is the author of four previous collections of poems. His first full-length collection, Bonfires, was awarded the Jack Chalmers Award for poetry by the Canadian Authors’ Association in 2004. Bonfires was also a finalist for the Gerald Lampert Award for best first book of poetry in Canada. His poetry has appeared in The New Quarterly, Arc Magazine, The Antigonish TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH CATHERINE GRAHAM An interview with Catherine Graham. Catherine Graham is a Toronto-based poet and novelist. Among her six poetry collections The Celery Forest was named a CBC Best Book of the Year, appears on CBC Books Ultimate Canadian Poetry List and was a finalist for the Fred Cogswell Award for Excellence in Poetry. Michael Longley praised it as“a work
TRAIN : A POETRY JOURNAL Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: AN ACT OF GROWTH Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF SELF-ISOLATION Lizzie Derksen is a writer and filmmaker from Treaty Six Territory. She is the poet through whom Aunt Rachel speaks and one of the authors of the collaborative novel Project Compass (Monto Books 2017).Her writing has appeared in PRISM International, Room, Funicular Magazine, Poetry Is Dead, The Vault, and on CBC Television.Lizzie lives in Edmonton, Alberta, where she walks her dog, hosts a TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF PROSE POEMS M.W. Jaeggle is a poet from Vancouver, currently living in Montreal. His writing has appeared or is forthcoming in The Dalhousie Review, CV2, Existere, in the anthology Refugium: Poems for the Pacific, and elsewhere. He was longlisted for the 2018 CBC Poetry Prize. Aaron Kreuter is the author of the poetry book Arguments for Lawn Chairs TRAIN : A POETRY JOURNAL: MARCH 2021 Constance Bacchus . they might be swans from a russian fairy tale flying around w/a borrowed lake as they land on the much flooded valley of green below little mountain spaced TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH EM/ILIE KNEIFEL An interview with em/ilie kneifel. em/ilie kneifel is a poet/critic, editor at The Puritan/Theta Wave, creator of CATCH/PLAYD8s, and also a list. find 'em at emiliekneifel.com, @emiliekneifel, and in Tiohtiá:ke, hopping and hoping. TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INTRODUCTION Geoffrey Nilson is the author of In my ear continuously like a stream (above/ground, 2017), O (Swimmer's Group, 2017), and We Have to Watch (Quilliad, 2016). His poetry and prose has appeared in various publications including Coast Mountain TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: FOR GRACE ON THE BEACH Emily Murman . we are looking for fullness lying long in the heat both hungry & not / cheez-its sticking like shells in the sand as hoveringgulls honk nearby
TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INVESTIGATION Chris Banks is the author of four previous collections of poems. His first full-length collection, Bonfires, was awarded the Jack Chalmers Award for poetry by the Canadian Authors’ Association in 2004. Bonfires was also a finalist for the Gerald Lampert Award for best first book of poetry in Canada. His poetry has appeared in The New Quarterly, Arc Magazine, The Antigonish TRAIN : A POETRY JOURNAL Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: AN ACT OF GROWTH Jay Besemer is the author of the poetry collections Theories of Performance (The Lettered Streets Press, 2020), The Ways of the Monster (KIN(D) Texts and Projects/The Operating System, 2018), Crybaby City (Spuyten Duyvil, 2017), Chelate (Brooklyn Arts Press, 2016) and Telephone (Brooklyn Arts Press, 2013). He was a finalist for the 2017 Publishing Triangle Award for Trans and Gender-Variant TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF SELF-ISOLATION Lizzie Derksen is a writer and filmmaker from Treaty Six Territory. She is the poet through whom Aunt Rachel speaks and one of the authors of the collaborative novel Project Compass (Monto Books 2017).Her writing has appeared in PRISM International, Room, Funicular Magazine, Poetry Is Dead, The Vault, and on CBC Television.Lizzie lives in Edmonton, Alberta, where she walks her dog, hosts a TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF PROSE POEMS M.W. Jaeggle is a poet from Vancouver, currently living in Montreal. His writing has appeared or is forthcoming in The Dalhousie Review, CV2, Existere, in the anthology Refugium: Poems for the Pacific, and elsewhere. He was longlisted for the 2018 CBC Poetry Prize. Aaron Kreuter is the author of the poetry book Arguments for Lawn Chairs TRAIN : A POETRY JOURNAL: MARCH 2021 Constance Bacchus . they might be swans from a russian fairy tale flying around w/a borrowed lake as they land on the much flooded valley of green below little mountain spaced TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH EM/ILIE KNEIFEL An interview with em/ilie kneifel. em/ilie kneifel is a poet/critic, editor at The Puritan/Theta Wave, creator of CATCH/PLAYD8s, and also a list. find 'em at emiliekneifel.com, @emiliekneifel, and in Tiohtiá:ke, hopping and hoping. TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INTRODUCTION Geoffrey Nilson is the author of In my ear continuously like a stream (above/ground, 2017), O (Swimmer's Group, 2017), and We Have to Watch (Quilliad, 2016). His poetry and prose has appeared in various publications including Coast Mountain TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIAN DAY Julian Day is the author of Late Summer Flowers (Anstruther Press, 2021). His poems and reviews have appeared in CV2, The /t Ɛ mz/ Review, periodicities, and elsewhere.He has lived in Vancouver, Saskatoon, and Ottawa, and now lives in Winnipeg. How did TRAIN : A POETRY JOURNAL: FOR GRACE ON THE BEACH Emily Murman . we are looking for fullness lying long in the heat both hungry & not / cheez-its sticking like shells in the sand as hoveringgulls honk nearby
TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INVESTIGATION Chris Banks is the author of four previous collections of poems. His first full-length collection, Bonfires, was awarded the Jack Chalmers Award for poetry by the Canadian Authors’ Association in 2004. Bonfires was also a finalist for the Gerald Lampert Award for best first book of poetry in Canada. His poetry has appeared in The New Quarterly, Arc Magazine, The Antigonish TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JOEL ROBERT Joel Robert Ferguson is the author of The Lost Cafeteria (2020, Signature Editions) and holds a Masters in Creative Writing from Concordia University in Montreal. His poetry has appeared in numerous publications including Arc, The Columbia Review, The Honest Ulsterman, The Malahat Review, Orbis, and Southword Journal.He lives in Winnipeg, Treaty 1 territory, with his partner and their three cats. TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH DEREK BEAULIEU Derek Beaulieu is the author/editor of over twenty collections of poetry, prose, and criticism, including two volumes of his selected work, Please, No More Poetry (2013) and Konzeptuelle Arbeiten (2017).His most recent volume of fiction, a, A Novel was published by Paris’s Jean Boîte Editions. Beaulieu has exhibited his visual work across Canada, the United States, and Europe and has won TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH AMANDA EARL Amanda Earl’s visual poetry has been exhibited in Canada, Brazil and Russia, and published in the last vispo: anthology: visual poetry 1998-2008 (Fantagraphics, 2012), Of the Body, (Puddles of Sky Press, 2012), Bone Sapling, a collaboration with Gary Barwin, (AngelHousePress, 2014), a field guide to fanciful bugs, (avantacular press, 2010), Montparnasse: this is visual poetry, (chapbook TRAIN : A POETRY JOURNAL: TRAIN : A JOURNAL OF INSTIGATION He is the author of Threshold, a chapbook of poems available now from Another New Calligraphy. He lives in Chelsea, MA with his fiancée Kristi and their two cats, Niles and Daphne. Andrew Taylor is a Nottingham UK based poet, editor and critic. His two full collections, Radio Mast Horizon (2013) and March (2017) are published by ShearsmanBooks.
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH TOM SNARSKY An interview with Tom Snarsky. Tom Snarsky is a special education math teacher at Malden High School in Malden, Massachusetts, USA. He is the author of Threshold, a chapbook of poems published by Another New Calligraphy. He lives in Chelsea, MA with his fiancée Kristi and their two cat children, Niles and Daphne. TRAIN : A POETRY JOURNAL: WELL, OKAY ryan fitzpatrick . In before the thinkpieces on the aesthetics of Zoom calling, the parasociality of the Twitch stream, and false friendship. According to Pitchfork, pop music is TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH MARGO LAPIERRE Margo LaPierre (www.margolapierreeditor.com) is a queer, neurodivergent Canadian poet and fiction editor.Her debut collection of poetry, Washing Off the Raccoon Eyes, was published by Guernica Editions in 2017. How did you begin writing, and what keeps you going? I read books, insatiably, as a young kid. I don’t actually have any memory of my parents reading to me, only of me reading to TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH BEN ROBINSON An interview with Ben Robinson. Ben Robinson's recent poems include the tale of a man who finds himself lodged in his condominium’s garbage chute, as well as an account of the Christian God’s foray into Spanish lessons. In 2019, The Blasted Tree, Above/ground Press and Simulacrum Press will each publish a chapbook of hiscomputer-generated
TRAIN : A POETRY JOURNAL: JASEUR D’AMÉRIQUE you make your home along the water because it grows the best berries. & it calms you, it is a familiar force that beacons always. but when the chill of oncoming snow descends, the trees made barren. your migratory path away carries you south, & you join tens, hundreds, thousands. a flyway, you find your own kind & fly in a trackingformation
TRAIN : A POETRY JOURNAL: AN INTERVIEW WITH JULIA POLYCK-O An interview with Julia Polyck-O'Neill. Julia Polyck-O’Neill is an artist, curator, critic, and writer. She is a doctoral candidate in Brock University’s Interdisciplinary Humanities program, where she is completing a SSHRC-funded interdisciplinary and comparative critical study of contemporary conceptualist literature and art inVancouver.
TRAIN : A POETRY JOURNAL20210315
ALTERNATIVE MEDICINE NOUNDOMENICO CAPILONGO
DEFINITION OF ALTERNATIVE MEDICINE : any of various systems of healing or treating disease (such as chiropractic, homeopathy, or faith healing) not included in the traditional medical curricula of the U.S. and Britain hidden whispers of ingredients found only in sicily. smuggled in the hollow bottoms of suitcases. we had to wait for _nonna_ to visit, unpack, and ration them out. roots, leaves, or lemons wrapped carefully in napkins. powders for cuts, top-quality bandages, creams for all ailments. little treasures stuffed in the back of the bathroom medicine cabinet. fizzy _brioschi_ for stomach aches was my favourite. I would steal the deep blue plastic bottle and shake some out like nuts. the twisty white granules piling in the palm of my hand, worm-like. the fizz filling my swollen cheeks. one day, my toddler brother was caught in the grip of a screaming fit in a dark greek restaurant on the danforth. the waitress, shocked, whispered, _malocchio, _the evil eye_._ my mother’s face went white. she knew what she had to do. long distance telephone calls, drops of olive oil in bowls of water. a series of prayers and the wringing of hands.until he stopped.
DOMENICO CAPILONGO is a Toronto high-school creative writing teacher and Karate instructor. His first two books of poetry, _I thought elvis was italian_, _hold the note_ and short fiction collection, _Subtitles_, were shortlisted for several awards. His latest books of poetry, _send_, is about the way we communicate. His work has been featured in several anthologies as well as national and international literary journals. He has recently finished a manuscript about words that were born in the 1970s. He also writes an interview series called _Un Momento_ for italocanadese.com . Find out more about him at: domcapilongo.wixsite.com/homeat March 15, 2021
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20210308
DEAN JOCELIN
JEREMY LUKE HILL
I am he, laughing, chin up, and shaking my head, spokes and wheels and a fire at the spine. My will is in the pillars and in the high wall. I saw the pinnacle, an image in stone, but water invaded the graves of the great. The foundationless pebbles stirred with the slow stirring of grubs, and the earth urged them this way and that, like porridge coming to the boil in a pot, and the grubs were made to crawl by it, as dust crawls on the head of a tapped drum, as Satan rose out of the west, clad in nothing but hair. I tied my chosen ones to the sky with bands of iron, cabled and riveted, but their glory bent my spine. The tower swayed like a tall tree above the blue cup of earth. – from William Golding’s _The Spire___
> _ARTIST STATEMENT:__ These poems from a series of poems entitled, "I > Am What They Make Of Me". Each is written from the perspective of a > character in a novel who has influenced me as a writer and as a > person. The poems draw much of their language directly from the > source texts, arranging and adapting them to emphasize the elements > that speak most to my connection with the characters.___
JEREMY LUKE HILL is the publisher at Gordon Hill Press, a literary publisher based in Guelph, Ontario. He is also the Managing Director of Vocamus Writers Community, a non-profit community organization that supports book culture in Guelph. _He has written a collection of poetry, short prose, and photography called __Island Pieces__; four chapbooks of poetry called __Poetry of Thought__, __CanCon__, __Trumped__, and __These My Streets__; two poetry broadsheets called __Grounded__ and __Indexical__; and a series of poetry broadsheets called __Conversations with Viral Media__. He also writes a semi-regular column on chapbooks for __The Town Crier. __His writing has appeared in in __ARC Poetry__, __The Bull Calf__, __CNQ__, __CV2__, __EVENT Magazine__, __Filling Station__, __Free Fall__, __The Goose__, __HA&L, The Maynard, paperplates__, __The Puritan__, __Queen Mob’s Tea House__, __The Rusty Toque__, __The Town Crier__, and __The Windsor Review__._
at March 08, 2021
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20210304
AN INTERVIEW WITH CHRIS JOHNSONCHRIS
JOHNSON (he/they) was born and raised in Scarborough, and they currently live in Ottawa, the unceded territory of the Algonquin Anishinabeg Nation. He is the Managing Editor for _Arc Poetry Magazine _, and his previous chapbooks include _Listen, Partisan!_ (Frog Hollow Press, 2016) and _Gravenhurst_ (above/ground press, 2019). @ceeeejohnson Photo credit: Nicolai Gregory HOW DID YOU BEGIN WRITING, AND WHAT KEEPS YOU GOING? Writing began and continues to begin, for me, with listening. In high school, listening was mostly music: emo, folk, musicals, R&B, metal, almost anything. As I've aged, listening has expanded to people and places. I try to listen to as many perspectives as I can, especially those that are different than my own. I try to listen to the news, listen to the universe, listen to my body. I still listen to emo, too. I read a few of other writers' interviews with _Train_ before taking a stab at my own answers, and I liked Conyer Clayton's response about what keeps her going: "the most crucial work of life; growth". It doesn't work for everyone, but I enjoy the times when writing feels like working through something, whether it's a concept or a desire or a real or imagined problem or concern. Writing can be an act of mindfulness, for yourself and the world around you. I think writing about a situation or an idea can really help you with understanding your reactions to or interaction with that situation or idea. Probably everyone could do with some more understanding and mindfulness. WHAT POETS HAVE INFLUENCED THE WAYS IN WHICH YOU WRITE? Firstly, some individual poems/books of poetry that have stuck with me or that I return to often: "Naked Poems" by Phyllis Webb, Scary, _No Scary_ by Zachary Schomburg, _A Pretty Sight_ by David O'Meara, _Lunch Poems_ by Frank O'Hara, _Otter_ by Ben Ladouceur, _Thou_ by Aisha Sasha John, and the long poem "Ok Cupid" by Major Jackson. I could go on, but all of the books/poems I've just mentioned are probably the most important poetry-related things that live rent-free in my head. The other way to answer this question would be to talk about the poets I've met who have left a lasting impression, and I think I'll get into this in a later question. HAVE YOU NOTICED A DIFFERENCE IN THE WAYS IN WHICH YOU APPROACH THE INDIVIDUAL POEM, NOW THAT YOU’VE PUBLISHED A COUPLE OF CHAPBOOKS? There probably isn't a wrong way to approach a poem, and I certainly haven't felt that my approach has changed since having poems published in chapbook form. Some poems start with a line or an image, and some poems start with an idea or a message. Sometimes poems are written for a larger project, and sometimes a poem is a one-off. The writing isthe important part.
YOU ARE CURRENTLY THE MANAGING EDITOR OF _ARC POETRY MAGAZINE_. WHY WAS THIS IMPORTANT, AND WHAT HAVE YOU BEEN LEARNING THROUGH THEPROCESS?
I am so grateful to be a part of _Arc_, for the people I get to work with and the people I have the privilege to publish and highlight in the pages of the magazine. Working for a literary magazine is incredibly rewarding for me because writers—regardless of whether they've published multiple books or if they're getting their first chance at publishing in a magazine—are generally very excited about having their work included in a publication. I get it! Having your work in a publication is always an honour, and I'm always honoured to be a part in others' publications. I believe that there are a diversity of voices that deserve to be heard, and working for Arc means I can play a small role in helping promote stories from BIPOC writers, deaf and disabled writers, LGBTQ+ writers, women and gender non-conforming writers. That all said, I am a White, able-bodied, cis-man, and, because of this massive privilege I carry, I have learned and continue to learn that I have huge blind spots. I am working at being more aware of my biases and prejudices, both learned and internalized from being raised in a patriarchal capitalist society. Being critical of ourselves and of the structures around us is so important, in my opinion. There is growing diversity in the pages of literary magazines and in publishers' catalogues, but there are still too few Black and Indigenous people with titles of "publisher" and "editor-in-chief" and "managing editor". Sharing and promoting diverse stories is important, and I am finding it very rewarding to give Black and transgender editors a platform to solicit work and release special issues of _Arc_ that highlight the poets in their communities. At the same time I know that so much more important work needs to be done. HOW IMPORTANT HAS MENTORSHIP BEEN TO YOUR WORK? IS THERE ANYONE WHO SPECIFICALLY ASSISTED YOUR DEVELOPMENT AS A WRITER? I've never taken a university creative writing course or taken part in anything more than a one-off workshop/writers' circle, so I don't consider anyone as a mentor to my work in any official form. That said, Collett Tracey formed In/Words Magazine & Press at Carleton University in 2001 and, while I wasn't there at the beginning, I cannot give enough credit to Collett and the community of writers around In/Words for assisting my development as a writer during my time at Carleton. To this day I very much look up to In/Words poets who came before me, particularly jesslyn delia smith, Bardia Sinaee, Leah Mol, Justin Million, Jeff Blackman, and Cameron Anstee. Also, although I didn't take any creative writing courses in university, there were still transformative poetry courses with Andrew Wallace and Esther Post and especially Brenda Vellino, who was the supervisor for my Masters research project. When I first started working with _Arc_, Monty Reid was the Managing Editor of the magazine and I very much continue to look up to him as a poet and organizer. In fact, I look to lots of writers in Ottawa as role models: Frances Boyle for her goal of receiving 100 rejections every year; rob mclennan for his commitment and all of his small press projects; Shery Alexander Heinis for her 5AM writers club and her engagement with the community; nina jane drystek for her always-surprising performance and experimentation. There are so many others I could mention here, but there is one more important person I would be remiss to leave out of any conversation about my development as a writer: Ashley Hynd. Ashley is a very kind, thoughtful, vulnerable, talented, and community-minded person, and I wouldn't be the writer I am today if I hadn't met Ashley a few years ago. CAN YOU NAME A POET YOU THINK SHOULD BE RECEIVING MORE ATTENTION? I've dropped perhaps too many names in my previous answers... so I'll keep that up. I'm gonna bend the rules and say that all of my poetry collective pals from VII should be receiving more attention: Manahil Bandukwala, Ellen Chang-Richardson, Conyer Clayton, nina jane drystek, Margo LaPierre, and Helen Robertson are all exceptional poets. I am so lucky to get to write with them, and any attention that these individuals get for their writing isn't enough, in my opinion!at March 04, 2021
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20210301
TRICK OF LIGHT
EMILY SANFORD
simply think of illuminance as light going toward an object—explicitly the amount of light as it touches a surface,unreflected.
inspect the roadside in drizzle, moon in a pool. no:artifice.
streetlamp reflected in spilled oil slickimposter—skip it.
apparition-rippled meniscus, topographically atypical shift— a squint in brilliance dims. this trick of lightafflictive:
as when visiting versailles, boating on thefalse lake,
holiday-making on credit— bliss glintsconditionally.
Born in Nova Scotia, EMILY SANFORD is a queer writer and performer who holds an MA in Literature and Performance from the University of Guelph. She is the winner of the 2016 Eden Mills Writers' Festival Literary Award for Poetry and 2018 Janice Colbert Poetry Award, and her poetry was listed amongst The 10 Best Poems of 2016 by Vancouver Poetry House. Her work appears in _Canthius_, _Grain Magazine_, _Minola Review_, _newpoetry.ca_, and _Plenitude Magazine_, and a recent poem was set to music for four-part choir by composer EKR Hammell. Emily lives and works in Toronto, and co-curates the popular Brockton Writers Series.at March 01, 2021
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20210222
FOR GRACE ON THE BEACHEMILY MURMAN
we are looking for fullness lying long in the heat both hungry & not / cheez-its sticking like shells in the sand as hovering gulls honk nearby we are seeking out shade shadows sliding over our skin I’m definitely going to burn & damn I hope our tattoos don’t get all splotchy we need to find the spot where lake michigan breaks open the suffocating midwest leave our phones on land walk in & just sit there EMILY MURMAN is a poet and educator from Chicago. She is currently working on her MFA thesis. Her debut chapbook, _SHRIVEL + BLOOM_, is forthcoming via Dancing Girl Press in 2021. As of July 2020, she is a reader for _Monstering Magazine_. Emily can be found on Twitter@emilymurman .
at February 22, 2021No comments:
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20210215
OFFICE STUFF VARNISHES FOR REPAIRS MICHELLE MOLONEY KING MICHELLE MOLONEY KING , {she/her} neo-postmodern poet, asemic poet, & editor of _Beir Bua Poetry Journal_ / Academic background ~ computer science, primary teaching & Hypnotherapy / Work published in _Spillwords_, _streetcake_, _Artistic Differences Project_, _Babel Tower_, & others / Holds Pushcart Nom / Visual Artists Ireland member / at February 15, 2021No comments:
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20210211
AN INTERVIEW WITH ROBERT PRIESTROBERT
PRIEST is the author of seventeen books of poetry. His words have been debated in the legislature, posted in the Transit system, quoted in the _Farmer's Almanac_, turned into a hit song and sung on Sesame street. His latest recording of songs and poems _BAAM!_ is available on Spotify, YouTube and iTunes. robertpriest.org HOW DID YOU BEGIN WRITING, AND WHAT KEEPS YOU GOING? I wrote my first poem when I was eight years old. That was under my own steam. I wrote occasional poems throughout public school both as assignments and just because I enjoyed it. I also attempted to write novels. In my teens I wrote dark satire influenced by John Lennon‘s books and love poems and letters influenced by love which I was constantly in. I always knew that I would be a writer and that was a steady vector through my life. It was a certainty. My plan when I finished high school was to go to University of Waterloo get a math degree, go into law, go into politics, become Prime Minister of Canada and then write after that. But I did four months of math and when I got onto my co-op job between terms I started to write in earnest and didn’t go back to school. I’ve been lucky enough to keep at it ever since – poems, songs, novels, plays, aphorisms, and a fair number of newspaper articles mostly for _Now_ _magazine_. Whatever it was that initially made me certain I would be a writer is what keeps me going. I get a lot of joy out of writing. I do also have to credit the ancestors who envisioned and fought for the socialism that has helped to fund me. And in the present day the people of Canada through their agencies the various arts councils which have made the financial aspect of it a little less onerous. One other thing – I lived for at least a couple of decades at the Bain co-op where I had a rent subsidy. When my income went down my rent went down. As during those years I was supporting a family I couldn’t have afforded to live inToronto without it.
Plus I have a partner (the one in the Marsha Kirzner poem) who unreservedly believes in my talent. WHAT POETS HAVE INFLUENCED THE WAYS IN WHICH YOU WRITE? As a poet I was influenced a lot by Neruda, Mayakovsky, Irving Layton, Leonard Cohen, Jacques Prevert, Rimbaud, Baudelaire (_Paris Spleen_) Margaret Atwood, Gwendolen MacEwen and the surrealist manifestoes of Breton. As a songwriter I was influenced by the Beatles, Dylan, The Stones Jim Morrison, Bob Marley, and later by hip-hop (https://www.youtube.com/watch?v=y9qCwMMX3FM) and lately by Neo Soul (https://www.youtube.com/watch?v=tITr2lRqdMo) and again by Leonard Cohen (and my song about him: https://www.youtube.com/watch?v=AppyaqdMw1Q&list=RDAppyaqdMw1Q&start_radio=The) YOU MENTION IN YOUR AUTHOR BIOGRAPHY THAT YOUR « WORDS HAVE BEEN DEBATED IN THE LEGISLATURE, POSTED IN THE TRANSIT SYSTEM, QUOTED IN THE FARMER'S ALMANAC, TURNED INTO A HIT SONG AND SUNG ON SESAME STREET. » HOW HAVE YOU BEEN ABLE TO MOVE YOUR WORK INTO SUCH AVARIETY OF SPACES?
It came about pretty naturally in the flow of my life. I’ve had a long run. I had always been inspired by children’s literature and had always written rhyming children’s poems for what they now call middle school kids. But when we had our own children and I got immersed in picture books I saw that that was a high art and got ambitious to create in that mode. My adult poetry was always written somewhat surrealisticly (http://halvard-johnson.blogspot.ca/2014/03/robert-priest-hand-poems.html) but now, for little children, I was writing about the real world – poems/songs celebrating nature, seasonal change, (https://www.youtube.com/watch?v=f40nMLLxfZg&t=3s) familial love, playground equipment etc.(https://www.youtube.com/watch?v=xrErwR3Xk4Q) In these poems by the way even though I wasn’t writing technically like Neruda I was influenced by his odes to common objects. A kind of cross fertilization. Having children also lead to my children’s novels and my plays _Knights of the Endless Day_ and Minibugs and_Microchips_.
I have always had an aphoristic mode as well. Even in high school – I distinctly remember in math class having a series of aphorisms about vectors just pop into my head and getting really excited about it. I wrote my first song at the age of 12. It was just after the Beatles had broken big in the world and the fact that they wrote their own songs inspired me. I was walking along behind a girl I had a big crush on. She was kind of big but beautiful. So to the beat of my footsteps I wrote a song about her which I still know. Songs began to come to me unbidden all the time as did poems in my early 20s. The creative act was always accompanied by a high feeling and a great jolt of joy which was good enough reason in itself to write them down. So given my natural predilection, a poetic upbringing through my mother and through the library system’s books plus time to create at the expense of unemployment insurance, welfare and sporadic arts grants I’ve continued to be able to let the creative Chi take me. This has been a great blessing. I am grateful for it. At some point in my late 20s when I had put out a children’s album the CBC hired me and my co-writer at the time, Eric Rosser, to write at least one song a week for a children’s show. We didn’t get paid much but once a week a news-related children’s song was broadcast coast to coast including one just before the repatriation of the Canadian constitution and another kind of prescient one about cruise bouquets – using the war technology of cruise missiles to deliver bouquets to one’s lovedones.
(https://www.youtube.com/watch?v=z608h5Oec-k&list=RDAppyaqdMw1Q&index=2) I still love a lot of those songs. By my late 20s and into my 30s I was writing poetry by day, finishing up with a children’s poem and often doing gigs with my bands at night. I never stopped working because working was my play. In that era (the 80’s) the Canadian content regulations came into being and in order to stimulate Canadian music the big media companies put together a fund called Foundation to Assist Canadian Talent on Records. (FACTOR) Through this I eventually got some money to make a record and some videos. (My first record was funded by a Canada Council grant to write poetry which I had already written so I used it to make the Robert Priest EP ) Here’s a cut about the murder of John Lennon backed by the Jitters (https://soundcloud.com/robert-priest/01-little-gun) here is the Ontario legislature having a bit of a kerfuffle about my (with Al Booth) anti-Harris song: free Ontario (https://www.youtube.com/watch?v=j2q4aqSGCAI&list=PLv4Yid1tq2jiP3d91__PeTLxInweb_7OE&index=8) LATELY YOU’VE BEEN WORKING ON PROSE POETRY. WHAT DO YOU SEE AS THE DIFFERENCE BETWEEN YOUR WORK WITH THE PROSE POEM, COMPARED TO YOUR WORK IN THE LYRIC MODE? I slip into prose poem mode sometimes when I’m feeling too confined. My aesthetic for the prose poem is looser than for lyric poems. In a lyric poem the density requires every part of the poem to be “poetic”. In a prose poem one can flow into it knowing that the poetry of it might only emerge in the totality. Plus you don’t have to worry about linebreaks. A prose poem is form without form. And it can provide a lot of room for an idea to roll and unravel. You can always edit it down to make it more compact like a lyric poem. I like to get loosely on a roll and run with it. A prose poem can be a fairytale, or a mock essay, a surrealistic revel or a narrative account in plain language. For me anyway. I’m all for everyone coming from their own aesthetic on this. Here’s a prose poem that Ray Coburn made a track for: (https://www.youtube.com/watch?v=0ajAfYJEO7Y) HOW IMPORTANT WAS MENTORSHIP TO YOUR EARLY WORK? WAS THERE ANYONE WHO SPECIFICALLY ASSISTED YOUR DEVELOPMENT AS A WRITER? My mother wrote poetry and composed stories and she encouraged me to do the same and insisted that I was a great talent. When I was 19 I moved into a house where the son, a guy named Ernie Spitzeder, was a writer and he encouraged the spirit of that in me. When I was about 20 a novel writer named Leo Simpson was very impressed with me. That bolstered my already quite high opinion. I write my best when I feel like I am very significant writer. They weren’t exactly mentors but Irving Layton, Gwendolyn McEwan, John Robert Colombo, Milton Acorn and Alden Nowlan all made it known to me that they thought I was an important new voice in Canadian poetry. Bronwen Wallace was also a very big help to me. YOU’VE PUBLISHED MULTIPLE POETRY COLLECTION AS WELL AS RECORDINGS OF SONGS. WHAT IS THE DIFFERENCE BETWEEN WORKING ON POETRY AND SONGWRITING? ARE YOU ABLE TO WORK ON BOTH CONCURRENTLY? Writing a poem is different for me than writing a song lyric. My early songs came to me with melody and words together. So that’s different. I would often hear them in my head when I was walking. Some of these were decent songs and my 1st EP (which was funded by a grant to write poetry I had already written) contains 5 of them, some of which got radio play and press. (https://youtu.be/KqglQW6MdlY) But ultimately I wasn’t as delighted as I wanted to be with my sense of melody so I started to write with people who I thought had the gift. From there on no I did still write some of my melodies I mostly wrote lyrics which other people put to music. But even writing song lyrics for me is different than writing poetry. The vast majority of my poetry for books doesn’t use formal prosodies or rhyme. These poems make their own structure as they proceed. Whereas writing a song lyric I’m leaning into the rhythmic template and the small demand of the rhyme – getting some impact out of expectations built into these ancient structures. Of course I’ve just written about 30 iambic rhyming sonnets for my next book and indeed some of my songs use no rhyme at all and proceed more or less like lyric poems. There’s a lot of cross-fertilization that goes along with the ecologies of these various poetic modes. So songwriting these days is mostly a collective effort. Most often I will write a lyric and then sit with a composer — sometimes Allen Booth, sometimes Julian Taylor and mostly listen and somtimes make suggestions as they compose a melody before my very ears. This is so exciting. Other times Julian for instance might have a fully realized melody but only part of the words and I will sit with him and help him finish off the words.(my favorite — https://www.youtube.com/watch?v=bGrSoWw1g-4) With John Capek or David Bradstreet I send them words and they send me back a produced track containing the words put to music.(https://www.youtube.com/watch?v=-6a3Ho3r8aY&t=1s) Sometimes Dave sends me just a melody (as in his song “Imagine Me Home”) and I completely compose words to it. All this is good for the brain and good training for the other modes of writing because skills constantly migrate into other arenas. I don’t think I’ve ever cowritten a poem with anyone and wouldn’t want to. (actually I did one poem co-write with Charlie Petch and Ikenna Igebulla). Song collectivity is fine but in the poem I’m the master. “Song Instead of a Kiss” which was a hit for Alannah Myles was originally sent as a lyric to Nancy Simmonds who I had done a lot of cowriting with. She placed it before Alannah at a strategic moment and the song emerged from the 2 of them in short order. (https://www.youtube.com/watch?v=SAhKH3VEqjQ) CAN YOU NAME A POET YOU THINK SHOULD BE RECEIVING MORE ATTENTION? Well I definitely am as averse to big headedness as anybody but my poor soul down at the bottom of its well is insisting on yelling “MEEEE!” But the 1st person who comes to mind other than that is Wally Keeler otherwise known as People’s Republic of Poetry. He’s done some avant-garde provocative, self endangering stuff that is truly brilliant and unique. I can’t encapsulate it here but do yourselves a favor and look him up. He’s the finest exemplar of the avant-garde spirit this country has ever had. at February 11, 2021No comments:
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Robert Priest
20210208
THIEVES
CHRIS JOHNSON
When small fluffy flakes white out my window I find myself watching a reflection. Wisely, my eyes automatically close to the exposure of bright light: high-beams appearing around a corner, or the setting sun jumping out from behind a tree. It’s simple biology, tho our bodies are failing us from the indoors as simple days are filled with more wars of words. Don’t let me get off book with these vague complaints, this almost scripted call-to-arms. I started with a glance outside in the off-chance I’d be surprised with some other eyes looking in. They’re not the thieves’, however we’ve placed human traits on raccoons’ masked faces. We’re stealing the earth from them, under their noses, as they prepare for a meal, as we all washour hands.
_a park garbage can
__cold in two feet of fresh snow __tomorrow’s dinner_ CHRIS JOHNSON (he/they) was born and raised in Scarborough, and they currently live in Ottawa, the unceded territory of the Algonquin Anishinabeg Nation. He is the Managing Editor for _Arc Poetry Magazine_, and his previous chapbooks include _Listen, Partisan! _(Frog Hollow Press, 2016) and _Gravenhurst_ (above/ground press, 2019). @ceeeejohnson at February 08, 2021No
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20210201
NEW PROPERTY LINES
BRYCE WARNES
grey & serried
second growth aldersgerminate
orange plastic flagsovernight
replicate
border of a
border
of a
*
now here’s a damp patch worth the investment a second single family dwelling on parcels that are 10.0 hectaresor more in area—
so much potential!
at the westernmost edge of our map the winter creek anxious with rain hurrieshome
BRYCE WARNES’S poems and stories have been published in _Joyland_, _PRISM_, _Poetry is Dead_, and elsewhere. He lives with his family on Vancouver Island in traditional, unceded Quw’utsun territory at February 01, 2021No comments:
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20210128
AN INTERVIEW WITH JULIAN DAYJULIAN
DAY is the author of _Late Summer Flowers _(Anstruther Press, 2021). His poems and reviews have appeared in _CV2_, _The /t__Ɛ__mz/ Review_, _periodicities_, and elsewhere. He has lived in Vancouver, Saskatoon, and Ottawa, and now lives inWinnipeg.
HOW DID YOU BEGIN WRITING, AND WHAT KEEPS YOU GOING? I started writing as a kid, long, rambling fantasy stories somewhere around grade five. Fantasy was my first great love as a reader. My elementary school library had the Shannara and Earthsea books, along with authors like Robert Asprin, Mercedes Lackey, Anne McCaffrey, and others. I remember typing up stories in WordPerfect and saving them on 5.25” floppies. My mother would print these out at her office, bring them home, and I’d read them and edit them on paper. Writing was always around my house, growing up. My mother is a poet, and I remember stumbling upon and reading some of her earliest poems on the old family computer when we lived in Vancouver, when I was maybe seven or eight. I remember thinking they couldn’t be poems – they didn’t rhyme! And we always had stacks of lit mags kicking around. I can remember _NeWest Review_, _CV2_,_ Dandelion_, _Descant_, _Rattle_. Naturally, I didn’t read any of these because I was too busy playingvideo games.
Somewhere around grade nine, I started writing poetry, though I can’t remember what actually kickstarted that. But I remember submitting a terrible poem to my high school lit mag, having it rejected, and being crushed. Good practice for the rest of my writing life, I guess. I was lucky to go to a high school that had a great creative writing program. I took both the offered courses, and my writing improved tremendously. It was still pretty bad, and I still didn’t read nearly as much as I needed to, but that would come later. Some people find their voice right away; others, like me, are plodders, and need lots of time and space to figure things out. I’ve stopped and started with my writing many times in the last twenty-five years, and I’m hopeful that’s behind me now. My longest stretch of non-writing was a span of about seven years after university. But in January of 2015 I knew I needed to start writing again and decided to start the new year by writing a poem a day through January. And I did. Most of these were nothing-poems meant to get me to the required one-a-day, but one of them made it into my chapbook, which I’m very proud of. Since then, I’ve tried to make the writing happen by writing. Waiting for that out-of-nowhere inspiration, or setting aside a few dedicated weeks once a year, seems far too dangerous. Too easy to get caught and have nothing to show. It works for some people, but not for me. For me, the biggest thing that keeps me writing is to keep writing. WHAT POETS HAVE INFLUENCED THE WAYS IN WHICH YOU WRITE? I’ll take this question in a couple of different ways. The poet who’s had the most influence on how I write, by way of emails, of books for my birthday and Christmas, and generally gently guiding my tastes, is my mother. Around the end of high school, she gave me a copy of Seamus Heaney’s _Electric Light_, which I read over and over and over. When I studied computer science, she had an open offer that whenever I took an English class for an elective, she’d buy my books (after my intro course, I ended up taking creative writing, Norse sagas, and a year of Old English). And when I lived in Ottawa and brought very little with me from Saskatoon, I had a handful of the books she gave me: Heaney, of course, but also Anne Szumigalski, Tim Lilburn, Don McKay, Carmine Starnino’s _The New Canon_, as well as acouple of others.
One of the first poets I read a lot was Shelley Leedahl, because my high school writing teacher liked her work, and so did I; Lorna Crozier was another of these poets. I learned a lot about the structure of a tight poem by reading them. Then in university, my infrequent reading time tended towards Sue Wheeler, who I’d gone to see with my undergraduate creative writing class at Amigo’s (of all places!) in Saskatoon. Her second collection, _Slow Moving Target_, was one of those books I read over and over when I’d packed up my life and moved to Ottawa. I’ve always loved her work, her ability to tell a complete story in the space of a short poem. Since then: John Burnside, Sue Sinclair, Robin Robertson, Kiki Petrosino, Mathew Henderson, and others. HAVE YOU NOTICED A DIFFERENCE IN THE WAYS IN WHICH YOU APPROACH THE INDIVIDUAL POEM, NOW THAT YOU’VE A CHAPBOOK FORTHCOMING? Not yet. Some poets are more naturally inclined to keep in mind the book or the project, but I still work mostly in the individual, potentially disconnected poem. This has some natural disadvantages, in that I’m not constantly working along a particular trajectory, but it does allow me to wander around a lot. I end up with lots of poems that feel complete, but don’t seem to fit well with the others. YOU’VE PUBLISHED POETRY AS WELL AS POETRY REVIEWS. WHAT IS THE DIFFERENCE BETWEEN WORKING ON POEMS TO CRITICAL PROSE? DO THE TWO SIDES OF YOUR WRITING INTERACT AT ALL? When I’m writing poetry, the purpose varies – sometimes I’m actively trying to write about something, and sometimes it’s more about writing through something and seeing where the process leads me. Poetry has a strangeness that constantly manages to surprise me. At some base level there’s a compulsion, and after that, there’s the layers of intentionality and craft that I’m constantly working to improve. Often, the final poem ends up wildly different from what I’d set out to write at the start, and I love that. When I’m working on reviews, it’s partly to highlight work I think is excellent – because there is so much good work out there and not enough reviewers, I feel reviewing is important work. I don’t think I have it in me to do a particularly negative review or a takedown. Some reviewers do, but there is so much good work that’s under- or just non-reviewed that I can’t justify it for myself. Why write something negative when I could use my energy to highlight work that needs it? Maybe it’ll make a difference, maybe not, but good work should be celebrated. At the heart of it, writing reviews also helps me understand better why I loved a particular piece of writing. I always have some kind of idea after I’m done reading. But it’s that process of going through, poem by poem, taking notes with pen and paper, mapping things out, re-reading many times, slowly and carefully, that really helps me solidify my understanding of what it was that worked well, or reallyspoke to me.
Doing this helps me build my knowledge of what makes great writing work. It helps me advocate for work I think is particularly good, or under-read, or important, and I really believe that every poet should also be a reviewer or otherwise publicly advocate for other poets’work.
HOW IMPORTANT HAS MENTORSHIP BEEN TO YOUR WORK? IS THERE ANYONE WHO SPECIFICALLY ASSISTED YOUR DEVELOPMENT AS A WRITER? I’ve been fortunate to have had my mother support my writing from the beginning, giving me books and pointing me towards writers she thinks I’d enjoy, as well as prodding me about submitting to various contests and journals. I also had great teachers early on: Paula Patola in high school, Bill Robertson as an undergrad. Ariel Gordon was the first editor to accept my work, and made me feel so welcome. After that publication, it was like a weight was lifted, and the amount I was writing, and its quality, increased dramatically. rob mclennan has always been available for my questions and is incredibly giving with his time. CAN YOU NAME A POET YOU THINK SHOULD BE RECEIVING MORE ATTENTION? Tiffany Morris immediately comes to mind. She writes SFF/horror poetry, among other things, and I first read her work I think in Prairie Fire a couple of years ago. Her work is gorgeous, everything I love in the poets I listed earlier. She also does excellent work as an editor: she was the editor of Terese Mason Pierre’s _Manifest_, one of my favourite chapbooks from the last year. She’s published a couple of chapbooks, but I’d love to read a full collection. There’s also Brendan Joyce and Kevin Latimer in Cleveland, who run the publisher Grieveland and whose work should get much more attention. em kneifel. Sneha Subramanian Kanta. Robin Sinclair. And every year I hope that Sue Wheeler publishes another collection. It’s been sixteen years since _Habitat_.at January 28, 2021
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Julian Day
20210125
TIME RUNS OUT
Robert Priest
Time runs out. It runs out of town on its perpendicular horse leaving only space. The sand grain stuck in the throat of the hourglass. The moon with a face like a stopped clock. Time runs out on its commitment to keep things going. Space an endless wave arched over breath half out of lungs. The heart between beats. Time stops everywhere. And no one notices. We are place creatures only, struggling to look sideways, craning for the right angle glance—the dance in square time. But the stare can’t meet the eye now. The kiss has no chronology to complete itself. Time runs out on marriage. Time runs out for sex. The treaty is broken without the clock and its worrisome increments. And if our eyes are on the horror we can't drag our eyes away from the horror. Or if we’ve already looked away we can’t look back. There is no ‘again’. The calendar shows only place. What date is it? Here. What does the word ‘next’ mean. Here. The man about to die not dying ever. Here. Here. No one has informed the wind though. It goes on blowing though the hole in the sail. Mere geography. Its vector an infinitessimon in freeze-frame. Only the animals can proceed. Birds fly past the last bird, whales surge beyond the end of all things. They ran out of time long ago. Now they run out of space. Extinction gets them all. Leaving only us, faces pressed flat against the glass, schedules half open at our wrists, straining to move through walls, and drag history with us. ROBERT PRIEST is the author of seventeen books of poetry. His words have been debated in the legislature, posted in the Transit system, quoted in the _Farmer's Almanac_, turned into a hit song and sung on Sesame street. His latest recording of songs and poems _BAAM!_ is available on Spotify, YouTube and iTunes. robertpriest.orgat January 25, 2021
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Subscribe to: Posts (Atom) An occasional poetry journal. Submissions are open: trainpoetryjournal@gmail.com. I like trains.PRINT ISSUES
* Train : a journal of introduction * Train : a journal of investigation * Train : a journal of prose poems * Train : a journal of astonishment * Train : a journal of instigation * Train : a journal of lyric * Train : a journal of concrete * Train : a journal of self-isolation * Train : a journal of carefully-considered re-emergence * Train : a journal of social distance annual subscriptions to the print journal Canadian $15.00 CAD American $21.00 CAD International $30.00 CADONLINE EXTRAS
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